polyslax wrote:a bagpipe move you make occasionally on the guitar that I love... in here at :24.

I do it all the time. it's just a quality of a strong hammer/pull, typically such as 'tapping' provides. especially with a pick, which Zappa did and in fact called his Bulgarian Bagpipes approach.

Fascinating, I didn't realize the FZ connection to that move.

jancivil wrote:

polyslax wrote:Your fractured jazz opera never fails to intrigue, but I still want to hear you cut loose on a groove some day.

Stranger 'n' - #5gets into stretches of 4/4 with a consistent backbeat... there is lead guitar from start to finish.

I'm pretty mad that you snuck that link in there without at least PMing me!

Thank you! This just confirms what I suspected... you can cook an awesome groove based piece. I'm going to listen to that guitar many more times. There are things happening rhythmically that make my brain smile, and there are moments of magic, similar to that piano chord, that are very emotional for me. I keep going back...

after I switched from drums, I was trying to become a rock drummer, to go into electric lead guitar, I did not pay any attention really to time-keeping. rhythm guitar is still something I'll delegate today. So my time became fluid and expansive. when I got back into composing music this century one of the thrusts was to learn to build support for the melodic thing which is primary for me, a lead player. so I have spent quite some time on thinking as a bass player and drummer with a DAW.

the drumming I do is very tied to the expansive time thing and I'm hearing Vinnie Colaiuta's support of Zappa.
however even when I wasn't active as a drummer I have filled in as the time keeping type of drummer in rock which is a coordination I was able to keep.

I'm 'busy' mentally and a backbeat is not foremost in my mind. additionally I always create every hit in the drums writing from scratch, so an extended groove is as much work as something more interesting. I'm a frustrated jazz drummer - it's an example of my broken path in life - and my so-called avant tendencies lead me into intricacies that aren't suited for the dance floor; so it seems as though I'm re-rehearsing the history, the old tension in jazz, the intellectual side that led it away from popular music over time.

this has the jazz drumming sliding all over the time while a rhythm guitar that isn't provided by me kept the backbeat where I didn't:

I would love it if someone would, if you mean will I stage a play, I have no means to do that. I do have a vague idea that these arrangements would suit this play if done today. I may even read it all.

I'm likely to continue on with these arrangements, anyway. the music for the second act is if anything more fascinating. I'm taking a lot more liberty with it.

polyslax wrote:a bagpipe move you make occasionally on the guitar that I love... in here at :24.

I do it all the time. it's just a quality of a strong hammer/pull, typically such as 'tapping' provides. especially with a pick, which Zappa did and in fact called his Bulgarian Bagpipes approach.

Wow, I love this. And the era this is coming out of astonishes me as well.
I always forget that in the academic neverneverland that parallel movement is considered gauche or something.

This is amazing. I'd love to be informed when you finish it and string it together so I can properly hear it all of a piece, but I'm thoroughly enjoying it in this snatchy was, too. Been too long since one of your mess'o'potamian tracks came my way.

well by the time this happened Debussy had tossed a lot of the old ways out the window. there was an Oriental music exposition around this time. and Satie, Debussy represent the avant garde of the time. this particular usage is not like Debussy however. the first time I heard it, and I am a sort of cognoscenti of the period, I was STUNNED by the sound of it.

One thing that was good for me was to connect these disparate styles via my arrangement and adaptation, force things that didn't really work for me to work by my ways of thinking. One old friend said when I showed him this, 'sounds like McCoy Tyner running out of ideas in an improv'. Satie would move freely from these unusual chords to plainer things all the time, I'm finding.